Contributes to smooth the skin.
DESCRIPTION: Multi-Intensive Lotion de Jeunesse Défroissante from Clarins is the first step on the daily antiaging care routine for a more beautiful and resplendent youthful skin, today and for a long time.
This active, fresh and oily textured youth lotion is perfectly absorbed by the skin and influences it to benefit from the care applied afterwards.


text:
/**
 * Property type meta processor
 * Add property setter which checks and converts property value according to its type
 */
meta('Type', {

    SETTER_NAME: '__type__',
    SETTER_WEIGHT: -1000,

    /**
     * Default array delimiter (for 'array' property type)
     */
    _defaultArrayDelimiter:  /\s*,\s*/g,

    /**
     * Add property setter which checks and converts property value according to its type
     *
     * @param {object} object   Some object
     * @param {string} type     Property type
     * @param {string} property Property name
     *
     * @this {metaProcessor}
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    /**
     * Check and converts property value according to its type
     *
     * @param {*}      value    Property value
     * @param {string} type     Property type
     * @param {string} property Property name
     * @param {array}  fields   Property fields
     * @param {object} object   Object to which property belongs
     *
     * @throws {Error} if specified property type does not exist
     *
     * @this {metaProcessor}
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     * Sets property type
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     * @param {function} callback Type handler
     * @returns {metaProcessor} this
     *
     * @throws {Error} if property type already exists
     *
     * @this {metaProcessor}
     */
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     * Checks whether specified property type exists
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     * @returns {boolean} true if property type exists
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     * @this {metaProcessor}
     */
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    /**
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     * @param {string} name Type name
     * @returns {metaProcessor} this
     *
     * @throws {Error} if property type does not exist
     *
     * @this {metaProcessor}
     */
    remove: function(name) {
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        delete this._types[name];
        return this;
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     * Sets default array delimiter
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     * @param {string} delimiter Array delimiter
     * @returns {metaProcessor} this
     *
     * @throws {Error} if delimiter is not a string
     *
     * @this {metaProcessor}
     */
    setDefaultArrayDelimiter: function(delimiter) {
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            throw new Error('Delimiter must be a string or a regular expression!');
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        this._defaultArrayDelimiter = delimiter;
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    /**
     * Gets default array delimiter
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     * @returns {string} Array delimiter
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     * @this {metaProcessor}
     */
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         *
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         * @throws {Error} if value greater then 'max' parameter
         *
         * @returns {number} Processed property value
         *
         * @this {metaProcessor}
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        number: function(value, params, property) {
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         * String property type
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         * Datetime property type
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         * @this {metaProcessor}
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         * @this {metaProcessor}
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         * Hash property type
         * Check 'simple object' type of value, applies 'keys' and 'element' parameters
         *
         * @param {*}      value    Property value
         * @param {object} params   Property parameters
         * @param {string} property Property name
         * @param {array}  fields   Property fields
         * @param {object} object   Object to which property belongs
         *
         * @throws {Error} if property value does not a simple object
         * @throws {Error} if hash has unsupported keys
         *
         * @returns {object} Processed property value
         *
         * @this {metaProcessor}
         */
        hash: function(value, params, property, fields, object) {
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                    [property].concat(fields).join('.') +'" must be a simple object!');
            }

            if ('keys' in params) {
                _.each(params.keys, function(key) {
                    if (-1 === params.keys.indexOf(key)) {
                        throw new Error('Unsupported hash key "' + key +
                            '" for property "' + [property].concat(fields).join('.') + '"!');
                    }
                });
            }
            if ('element' in params) {
                _.each(value, function(key) {
                    value[key] = that.apply(value[key], params.element, property, fields.concat(key), object);
                }) ;
            }

            return value;
        },

        /**
         * Object property type
         * Check 'object' type of value, applies 'instanceOf' parameters
         *
         * @param {*}      value    Property value
         * @param {object} params   Property parameters
         * @param {string} property Property name
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         * @param {object} object   Object to which property belongs
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         * @throws {Error} if hash has unsupported keys
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         * @returns {object} Processed property value
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         * @this {metaProcessor}
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        object: function(value, params, property, fields, object) {

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                    var className = instanceOf.__isClazz
                        ? instanceOf.__name
                        : (_.isString(instanceOf) ? instanceOf : 'another');

                    throw new Error('Value of property "' + property +
                        '" must be instance of ' + className + ' clazz!');
                }
            }

            return value;
        },

        /**
         * Object property type
         * Check 'function' type of value
         *
         * @param {*}      value    Property value
         * @param {object} params   Property parameters
         * @param {string} property Property name
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         * @returns {object} Processed property value
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         * @this {metaProcessor}
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        "function": function(value, params, property) {
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        }
    }
});

redpajama_set_name: RedPajamaGithub


text:
2013 Sunday Interdenominational Worship
Beginning the second full day of EAD 2013, Rev. M. Linda Jaramillo of the United Church of Christ broke open the Word of God at our Interndenominational Worship as it relates to food justice and the call for a just farm bill.
Keynote Preacher
The Rev. M. Linda Jaramillo, Executive Minister of the United Church of Christ Justice and Witness Ministries
Linda Jaramillo is executive minister of the UCC's Justice and Witness Ministries, responsible for the church's work on human rights and social, racial and economic justice. Jaramillo has been active in various UCC settings; as a member of the Commission for Racial Justice and the board of the Coordinating Center for Women; as a member and moderator of Ainsworth UCC in Portland, Ore.; as moderator, vice-moderator, treasurer and search committee chair in the Central Pacific Conference; as a member and committee chair of the Executive Council; and as assistant moderator of General Synod. In 2002, she was a UCC delegate to the World Council of Churches Assembly in Harare, Zimbabwe in 1998. She is a former president and vice-president of the Council for Hispanic Ministries and former co-convener of the Council of Racial and Ethnic Ministries.
Jaramillo has over 30 years of management experience working with state, county, and federally funded programs in Oregon, including Head Start, migrant services, child welfare, violence prevention, HIV/AIDS treatment and prevention, and adult community-based education. She received a B.S. in Business Administration from Portland (Ore.) State University and a Master of Divinity degree from UCC-related Pacific School of Religion in Berkeley, Calif. Fluent in both English and Spanish, she is the first Hispanic to serve as a member of the Collegium.

redpajama_set_name: RedPajamaCommonCrawl


text:
Celebrating All Things Jazz in April
April 4, 2019 / By Melinda Bartram / Post a Comment
Did you know April is National Jazz Appreciation Month? This month, North Texas is celebrating the beauty of jazz as both a historical and current form of art through a variety of fun events! From concerts, to award shows and nights out on the town, you can join other North Texans and celebrate all that jazz has to offer while you #RideDCTA!
Live Jazz Monday's at Greenhouse Restaurant in Denton
Vibe to some jazz while enjoying drink specials and tasty appetizers in honor of National Jazz Appreciation Month! From 10 p.m. to midnight, Monday nights at the Greenhouse Restaurant in Denton are always filled with fantastic jazz performed by University of North Texas (UNT) and Texas Woman's University (TWU) musicians. Student talent has been filling the venue for years, making it a local tradition to showcase the artistic abilities of those who attend the nearby universities. For a night with some of the best local talent, ride our Denton Connect Route 7 and 8. For more information, visit Facebook.com
Jazz Singers: Jennifer Barnes, director with Guest Artist, Michelle Nicolle at UNT
From London to New Orleans, Seattle and now in Denton, Australian jazz singer, Michelle Nicole, will perform a night of charming jazz in sponsorship with UNT's College of Music. Michelle Nicole, an arranger, bandleader and award-winning jazz vocalist will perform at 8 p.m. on Saturday, April 6, at the Murchison Performing Arts Center on UNT's campus. Tickets range from no cost to $10. Ride our Mean Green Night Rider campus shuttle to get there and claim your seat! For more information, visit calendar.unt.edu/jazz-singers-jennifer-barnes-director-guest-artist-michelle-nicolle-0.
Jazz Heads at The Perc Coffeehouse in Lewisville
Enjoy a hot cup of joe while listening to some jazz! The Jazz Heads, a jazz group from Denton, will perform from 7 p.m. to 9 p.m. on Friday, April 19, and Friday, April 26, at the Perc Coffeehouse in Lewisville. To get there, take our Lewisville Connect Route 22. For more information, visit lewisvilletxlive.com/event/various-artists-at-the-perc-coffeehouse/.
Jazzercise Class in Highland Village
Want to celebrate National Jazz Appreciation Month in a more active way? Take a jazzercise class! It is a fun way to get your heart pumping to a funky, jazz playlist. Try your first class for FREE and with classes offered all day, maybe you'll find a new hobby you love! Ride the Highland Village Connect Shuttle to get to the Jazzercise Flower Mound Fitness Center. For more information, visit local.jazzercise.com/jazzercise-flower-mound-at-the-center/Highland-Village-TX/.
+_-
Mark Allen Duo at Witherspoon Distillery in Lewisville
Spend this month with others who have a special love for jazz! Mark Allen Duo, a seasoned jazz musician with more than 30 years of musical experience, will host a FREE live concert at the Witherspoon Distillery in Lewisville on Saturday, April 27. From 6p.m. to 9p.m., the well-versed musician will entertain the crowd with classic jazz as Witherspoon Distillery bartenders serve your favorite hand-crafted cocktails. To enjoy a night of smooth tunes, ride our Lewisville Connect Route 22 to get there. For more information, visit witherspoondistillery.com/events.
Denton Arts and Jazz Festival
Celebrate the beautiful sounds of jazz at one of the largest local attractions for the finest entertainment and art in North Texas! The Denton Arts and Jazz festival will run from Friday, April 26 (from 3 p.m. to 11 p.m.), Saturday, April 27 (from 10 a.m. to 11 p.m.) and Sunday, April 28 (from 11 a.m. to 9.m.) at Quakertown Park. There are activities for everyone – from a Children's Art Tent to six food courts with unique cuisines, art exhibits and of course, live jazz! Ride our FREE shuttle service each day of the festival from MedPark station and Texas Health Presbyterian Denton directly to the festival grounds. For more information, dentonjazzfest.com/.
D'JAM 2019 Concert and Open House
Want to take a day trip? The city of Dallas is saluting the genre of jazz with a FREE concert and open house on Saturday, April 13. From 1 p.m. to 4 p.m., North Texans can celebrate the history and impact of jazz at this one of many D'JAM (Dallas Jazz Appreciation Month) events! There will be live music from local jazz groups, CD and poster giveaways, and a D'JAM Jazz Legends Award presentation. To enjoy the music, ride our A-train and connect with DART's Green Line at the Trinity Mills Station in Carrollton to get to Dallas. For more information, visit jazzdallas.com
Which events do you plan to attend this month by riding DCTA? Let us know in the comment section below!
Spring Has Sprung: Fun Things to Do in April
Best of Series: Top Earth Day Events to Attend in April
Melinda Bartram
Fall Into Fun in Denton County
Celebrate Trails Day on DCTA's A-train Rail Trail
Fun Things to Do in April: Small Business Edition


Department of Health | Don't fall for it. Falls can be prevented!
This consumer booklet was prepared by the National Ageing Research Institute and Metropolitan Domiciliary Care, an agency of the State Government of South Australia, and was published for the Australian Government Department of Health. The content of the publication was modified and reprinted in July 2005, and reprinted again in 2007 and 2012.
Please note: This book is currently unavailable to order as a hard copy but may be downloaded in PDF format below.
Fall-proofing yourself - This section describes intrinsic falls risk factors relating to individuals and their health and describes in detail how these risk factors can be reduced.
Fall-proofing your surroundings - This section describes extrinsic falls risk factors relating to an individual's environment and describes in detail how these risk factors can be reduced.
Just in case - This section describes what to do in the event of a fall. Information in this section includes how to minimise injury from a fall, making a plan to get help if you fall and how to get yourself and others up from the floor in the event of a fall.
If you are having difficulty downloading the PDF document(s) please email us.


The Ski Sheet was the original evacuation device specifically designed for use in hospitals and other care facilities. The Ski Sheet enables care staff to quickly and safely move non-ambulant individuals to a place of safety in an emergency, while securely cocooned within their mattress.
The sheet is easily fitted to the underside of the users mattress using the four elastic corner straps and there it remains in place at all times, allowing it to be instantly accessible. The straps of the Ski Sheet are stored in discreet pockets on the underside of the sheet.
In an emergency the straps are simply removed from their storage pockets and secured over the individual. The user can then be slid off the bed using the head/foot end handles and taken to safety.
The Ski Sheet features seat belt style metal buckles for the ultimate patient safety and security when moving down staircases. Made from strong nylon, for a low friction resistance, the Ski Sheet is easy to keep clean - Please refer to the Ski Sheet leaflet for laundry instructions.
Features: Pockets for storing the cross straps. Elastic corner straps for attaching Sheet to the mattress. Seat belt style webbing straps and metal buckles.


Sports brand Nike and navigation system provider TomTom have extended their sports watch collaboration that has produced watches that use GPS to assist runners in training.
The summer collection of Nike+ Sportwatch GPS is available in a variety of colours and uses technology to deliver a range of functions such as in-run metrics of time, average and instantaneous pace, distance and heart rate. The watch also has motivational features including run reminders and delivering inspirational messages to help encourage runners before and after running sessions.
TomTom managing director Corrine Vigreux said: "As we move into summer and the days are longer, many people are motivated to start out on a new training schedule. Our extended range of products will be very useful to those adding running into their summer exercise regime. And the new NikeFuel measurement brings added motivation, allowing people to share and compare their performance with friends in other sports.
The watches have gone on sale this week through TomTom and Nike websites. To find out more about the watch collection you can watch the video below.


T315 (Maunal Fill, 10kg, Free Delivery). Introducing the incredibly popular 11kg ice maker from best-selling brand Polar. Convenient, compact and simple to use, the Polar is one of the most user friendly commercial ice makers available. Simply manually fill the internal reservoir, select the size of ice and then wait for fantastic bullet shaped ice, easily removed with the supplied scoop. Ideal for small restaurants, cafés, pubs and bars who require a compact and stylish manual fill ice machine.
G620 (Manual Fill, 15kg, Free Delivery) Stylish, well-constructed stainless steel manual fill ice machine from Polar, designed for stress-free and easy operation in bars, cafes and restaurants. No water connection is required - simply lift the lid, fill the water reservoir and fresh ice will fill the internal removable basket (holds approximately 120 cubes). The front panel allows you to select the different sizes of ice as required. Supplied with scoop.
T316 (Auto Fill, 20kg, Free Delivery). The Polar 20kg Commercial Ice Machine is a high quality reliable ice maker from leading brand Polar Refrigeration. Boasting a compact, easy-clean stainless steel design, the commercial ice machine is perfect for front of house ice dispensing in bars, pubs and other similar establishments. Featuring robust construction, it's designed to withstand rigorous commercial operation, whilst the user friendly control panel is simple to use and provides clear, concise feedback on the status of the machine. Supplied with installation kit and handy scoop.
GL192 (Auto Fill, 50kg, Free Delivery) Perfect for use in pubs, clubs, bars, retail outlets and other similar premises, the Polar Refrigeration Bullet Ice Maker offers high output ice making alongside a large hygienic 11kg ice storage capacity. Made from robust stainless steel, it's designed to be strong and durable, whilst also being incredibly simple to use and clean. A fuss-free high output ice machine from Polar, supplied with a scoop and mains water connection kit.
GL193 (Auto Fill, Spray Ice, 22kg, Free Delivery) You can make long lasting, crystal clear ice with the mains fill Polar Spray Ice Machine. Customers will really notice the difference as the ice produced by this machine is of the highest quality, perfect for adding to premium drinks or for crushing. Able to produce up to 23kg of ice every 24 hours, the Polar ice machine is ideal for pubs, clubs, bars and other similar establishments. It's also made from strong stainless steel which is easy to clean and highly durable. Supplied with scoop and mains water connection kit.


text:
Саша Томановић (Сомбор, 20. септембра 1989) српски је фудбалер који тренутно наступа за Железничар из Панчева.

Статистика

Клупска

Трофеји и награде

Клупски
Инђија
 Прва лига Србије: 2009/10.

Братство Пригревица
 Војвођанска лига Запад: 2013/14.

ТСЦ Бачка Топола
 Прва лига Србије: 2018/19.

Појединачно
 Најбољи фудбалер Града Сомбора за 2019. годину
 Гол кола у Суперлиги Србије (1)

Напомене

Референце

Спољашње везе

Рођени 1989.
Спортисти из Сомбора
Српски фудбалери
Везни играчи у фудбалу
Фудбалери Инђије
Фудбалери Радничког (Сомбор)
Фудбалери Јавора
Фудбалери ТСЦ Бачке Тополе
Фудбалери Железничара Панчево
Фудбалери Прве лиге Србије
Фудбалери Суперлиге Србије

redpajama_set_name: RedPajamaWikipedia


Say goodbye to phone calls or emails to check preferred rates, or even worse, after-the-fact policy management. With Skyjunxion you can setup and manage multiple policies to accommodate for different groups of people.
If you need hard cost reduction measures, you can choose to mandate lowest air fares and black out dates or destinations.
You can also avoid having many key people on the same flight with security rules.
Setup preferred & avoid vendor rules for every airline, hotel & car rental.
You can also load negotiated fares and rates with airlines, car rental & hotel chains, and make them available to the organization immediately.
Setup expense rules either by ceiling per diem or ceiling per expense type. Your travelers will be reminded of the policy upon filing their expenses, not after the fact. Expense rules can also be set up by country/city (eg. Dubai is more expensive than Amman, so a different expense policy should apply).


text:
Clearing The Pediatric C-spine
Developing a good rule to clinically clear the pediatric cervical spine would be difficult. Very few kids suffer injuries to that region of the body making it nearly impossible to create a well-powered decision instrument. Like with many other attempts in pediatrics you would most likely end up with a guideline that would be fairly sensitive, but horribly specific.
Lets say we abstracted and validated a pediatric c-spine rule that was 95% sensitive and 50% specific. With a disease that occurs at an incidence of less than 0.1% (1/1000), by employing a decision instrument that is 95% sensitive you would reduce your patient's risk of missed injury to say 0.005% (1/20,000) . Sounds great right? Hold on though; there's more. If that same rule is 50% specific (which most peds clinical rules are) 50% of the kids you applied your rule to will have false positives. Therefore 500 of every 1000 patients you employ your decision instrument for would actually be subjected to further workup and needless radiation.
Does any of that sound familiar? It's nearly identical to the use of D-Dimer in very low risk adults (probably better stated as no risk). If you take a low to medium pre-test probability of disease (Wells Score of low-mod = 2-16% risk) and apply a D dimer (sensitivity > 95%) that comes back as a negative result (you now have reduced your 16% chance of having disease to less than 1% because 16% reduced 95% is 0.8%). Well done! You are done with the work-up and you have excluded disease. If you apply the D-Dimer to a very low risk population (1-1000 to 1/10,000 depending on who you read) then you may further reduce your risk (I'm not sure how much lower you need to go to fell comfortable 1/1000 is pretty low), but just like in the example above, you will have subjected twice as many patients to needless CTA of their chests because your D-Dimer specificity was so poor (about the same 50% as above).
Sorry, that's a lot of stats, but here's the take-home message. Your pediatric patient doesn't need a decision instrument as much as they need a good doctor. Any injury with extremely low prevelence will most likely end up below the test threshold of creating and validating a decision instrument that you can rely on. It is hard to get objective data in pre-verbal children, but it is easy to play with them, earn their trust and make a good clinical decision. NEXUS gets you to 8 years of age, but then it's up to you to make a decision based on experience.
Podcast 5 - AVI Format (Larger Video Version)
Podcast 5 - Pediatric C Spine Clearance
Tagged: C-spine, Cervical Spine, Cervical Spine Exam, Cervical Spine Movie, Clearing, PEM, education, emergency medicine, medicine, pediatric emergency medicine, pediatrics


text:
Q: Add a command to every display mode math equation Is it possible to have a hook in every display math mode, before and after the formula?
For example: if I would like to make every display formula 50% smaller, I would ask the hook on entering the $$ formula to be \scalebox{.5}\bgroup\ensuremath\bgroup and the one on leaving the formula would be \egroup\egroup.
It should work both with $$...$$, \[...\] and with \begin{equation}...\end{equation}.
In other words, writing
\def\beginDisplayMathHook{\scalebox{.5}\bgroup\ensuremath\bgroup}
\def\endDisplayMathHook{\egroup\egroup}
$$ x^2+y^2=1 $$

should be equivalent to
$$\scalebox{.5}{\ensuremath{x^2+y^2=1}}$$

Is this possible?

A:
may the gods of math typesetting forgive me.
\documentclass{article}
\usepackage{graphicx}
\def\z#1{\par\hrule$$#1$$\[#1\]\begin{equation}#1\end{equation}\hrule}

\setlength\textwidth{4cm}

\makeatletter
\everydisplay{%
\setbox0\hbox\bgroup
\global\setbox1\box\voidb@x
\def\eqno#1$${\global\setbox1\hbox{#1}$$}%
$\displaystyle\def\]{$$}\aftergroup\foo}
\def\foo${\egroup
\ifdim\dimexpr\wd0+\wd1>\textwidth
  \resizebox{\dimexpr\textwidth-\wd1\relax}{!}{\box0}%
\else
  \box0
\fi
\ifvoid1
\else
\eqno\box1
\fi
$$}
\makeatother

\begin{document}

\z{x+y+z}

\z{\frac{111}{2222}+\sqrt{x^2-y^2}}

\z{\frac{111}{2222}+\sqrt{x^2-y^2}+a+b}

\z{\cos\theta - \frac{t^5}{s^4}+\sqrt{x^2-y^2}+a+b}

\z{\cos\theta +\sin\phi + \tan\sigma - \frac{t^5}{s^4}+\sqrt{x^2-y^2}+a+b}

\end{document}

A: There already exists the nccmath package, which defines 'medium-maths' commands and environments you might be interested in:  they scale to ~ 80 % of \displaystyle.
Here is an example:
\documentclass{article}
\usepackage[utf8]{inputenc}
\usepackage[T1]{fontenc}
\usepackage{nccmath}

\begin{document}
\[ a^2 + b^2 = 1,\quad \int_a^b \frac{f(x)}{g(x)}\,\mathrm d\mkern1mu x, \quad\begin{bmatrix}x & y\\u & v\end{bmatrix}\]%

\[ \medmath{ a^2 + b^2 = 1}, \quad \medint\int_a^b \mfrac{f(x)}{g(x)}\,\mathrm d\mkern1mu x \quad\left[\begin{mmatrix}x & y\\u & v\end{mmatrix}\right] \]%

 \end{document}

redpajama_set_name: RedPajamaStackExchange


text:
Die Martinus-Medaille ist die Bezeichnung von Auszeichnungen der Katholischen Kirche, die von den Bistümern Mainz und Rottenburg-Stuttgart unabhängig voneinander für herausragendes ehrenamtliches Engagement und gelebte Nächstenliebe im Sinn des Diözesanpatrons beider Bistümer, des heiligen Martin von Tours, an Einzelpersonen und Gruppen verliehen wird.

Die Medaille – es gibt sie in Bronze und Silber – ist je nach Diözese unterschiedlich gestaltet, zeigt jedoch auf der Vorderseite das Bild des heiligen Martinus mit dem Bettler in verschiedenen Versionen, auf der Rückseite jeweils ein spezielles Motiv der jeweiligen Diözese. Sie wird in der Regel jährlich am 11. November, dem Gedenktag des heiligen Martin oder am Sonntag, an dem das Patronatsfest gefeiert wird, an maximal 25 Empfänger verliehen.

Die mit dieser Medaille ausgezeichneten Personen haben meistens über viele Jahrzehnte hinweg neben ihrem amtlichen Dienst oder ihrer beruflichen Tätigkeit Zeit, Gesundheit, Kraft und Vermögen im Sinne des heiligen Martin mit anderen geteilt. Sie haben sich für Kirche und Gesellschaft in herausragender und vielfältiger Weise eingesetzt oder Initiativen zur Gründung von gemeinnützigen Vereinen, Selbsthilfegruppen, Aktionen oder Bibel- und Ökumenekreisen ergriffen. Das belobigte Engagement erstreckt sich dabei vom Aufbau von Hospizgruppen und Krankenbesuchsdiensten sowie die Behinderten- und Altenarbeit über die Hilfen für Arbeitslose und Jugendliche oder die Resozialisierung von Straffälligen bis hin zur Unterstützung der Missionsarbeit und von Dritte-Welt-Initiativen, der Erwachsenenbildung und der Frauenarbeit auf Vereins- und Verbandsebene.

Mit der silbernen Martinusmedaille, der höchsten Auszeichnung für ehrenamtliches Engagement, ehrt der jeweilige Bischof unter Berücksichtigung von Beratung und Votum durch das Bischöfliche Ordinariat herausragende Persönlichkeiten aus Kirche und Gesellschaft sowie Gruppen und Einrichtungen, die der Diözese und Kirche in besonderer Weise verbunden sind und deren Beziehung zur Diözese in besonderer Weise kirchlich oder gesellschaftlich verdienstvoll ist.

In der Regel verleiht der Generalvikar der Diözese die Auszeichnung im Namen des Bischofs.

Medaillenträger
 Josef Wrede, 1975 (Rottenburg)
 Walter Kasper, 1976 (Rottenburg)
 Heinz-Georg Diehl, 1980 (Mainz)
 Maria Elisabeth Stapp, 1983 (Rottenburg)
 M. Mathild Koppers, 1983 (Mainz)
 Margret Marquart, 1985 (Rottenburg)
 Theo Sorg, 1994 (Rottenburg)
 Kurt Diemer, 1996 (Rottenburg)
 Heinz Gauly, 2003 (Mainz)
 August Bochtler, 2011 (Mainz)
 Karl-Lorenz Diehl (Mainz)
 Karl Delorme (Mainz)
 Peter A. Schult, 2016 (Mainz)
 Dr. Franz J. Hock, 2021 (Mainz)

Weblinks
 Martinus-Medaille – Ausgezeichnetes ehrenamtliches Engagement, Homepage des Bistums Rottenburg-Stuttgart, abgerufen am 23. Februar 2015
 Martinus-Medaille, Homepage des Bistums Mainz, abgerufen am 9. März 2020

Orden und Ehrenzeichen (Deutschland)
Martin von Tours als Namensgeber
Auszeichnung (römisch-katholisch)
Bistum Mainz
Diözese Rottenburg-Stuttgart
Erstverleihung 1976
Medaille


text:
JUST LIKE ALWAYS
Janie Tannenbaum is noisy and brash and very much with it--a disruptive force and a down. Courtney-Ann Schaefer is ladylike and reticent--a reader of fantasies who lives in their world. But because both fifth graders have scoliosis, or curvature of the spine, they are roommates in a big-city hospital awaiting body-casts and corrective operations. And in that confined, cut-off setting, Janie soon incites Courtney to revolt (unwanted food goes out the window, a daring foray to the coffee shop nets ice cream cones), while Courtney apprehensively lets Janie in on her fantasy world and its rituals. The girls' developing intimacy, and outreach to one another, is handled with more delicacy than the initial conflict-of-personalities might suggest. When Courtney goes first to get her body cast, and her beautiful long blonde hair must be cut off, she asks to have it braided and to have Janie with her (""I'm not very brave, and she is""); the words that Janie reassures her with, though, are their secret words, and she leaves the room with the ""long silky braid"" in her pocket. Then, when they're both in casts--like two ""turtles""--the combination of hijinks and mutual compassion is moving without being maudlin. An attempt to pair up the nicest, prettiest nurse with an understanding, very handsome doctor, prefaced by a poll of the staff on ""love,"" is fluff by comparison--but it has a satisfactory, you-can't-make-it-happen ending. Once the two girls connect, indeed, the story proceeds--buoyantly?--from the mesh of their personalities and the inevitabilities of their situation.
Pub Date: Sept. 9th, 1982
Publisher: Atheneum


1. Pound chicken breasts until they are 1/4 inch thick. This can be done easily by placing the chicken breast between plastic wrap and using a mallet to pound it.
2. Season both sides of chicken with salt and pepper to taste. Place 1 slice of cheese and 1 slice of ham on each chicken breast. Roll up each breast, using a toothpick to secure if needed.
3. Dredge in flour, shaking off any extra. Dredge in egg and then bread crumbs. Place in greased baking dish. Place about 1 tablespoon of butter on each chicken breast.
4. Bake at 350 degrees for about 35 minutes, or until juices run clear. Serve with a sauce made from chicken broth and cream, or cream of chicken soup and sour cream, seasoned to your taste.


Learn how to prepare for an active shooter event in the workplace, as well as why it is important to be ready in case the worst occurs.
Does Your Business Really Have Cyber Security?
Emergency Situations: How Will You Know When It Is Safe to Evacuate?


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If your love for bagels is strong, then this pin is for you: IN BAGELS WE TRUST. Sturdy rubber clasp backing.
Enamel pin designed exclusively for Kanibal & Co. by Moxie Fox.


text:
Bronze Horseman
This article is about the statue. For the poem by Aleksandr Pushkin, see The Bronze Horseman (poem). For the novel by Paullina Simons, see The Bronze Horseman (novel).
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This article may be expanded with text translated from the corresponding article in Russian. (January 2017) Click [show] for important translation instructions.
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This article may be expanded with text translated from the corresponding article in Georgian. (January 2017) Click [show] for important translation instructions.
You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary Content in this edit is translated from the existing Georgian Wikipedia article at [[:ka:]]; see its history for attribution.
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The Bronze Horseman (Russian: Медный всадник, literally "copper horseman") is an equestrian statue of Peter the Great in the Senate Square in Saint Petersburg, Russia. Commissioned by Catherine the Great, it was created by the French sculptor Étienne Maurice Falconet. The name comes from an 1833 poem of the same name by Aleksander Pushkin, which is widely considered one of the most significant works of Russian literature. The statue is now one of the symbols of Saint Petersburg.
Étienne Maurice Falconet
The statue's pedestal is the enormous Thunder Stone, the largest stone ever moved by humans.[1] The stone originally weighed about 1500 tonnes, but was carved down during transportation to its current size.[citation needed]
1 Statue
2 Thunder Stone
3 Siege of Leningrad
4 Poem
6.1 Notations
StatueEdit
See also: Monument to Peter I (St. Michael's Castle)
The Bronze Horseman, by Vasily Ivanovich Surikov
The equestrian statue of Peter the Great is situated in the Senate Square (formerly the Decembrists Square), in Saint Petersburg. Catherine the Great, a German princess who married into the Romanov line, was anxious to connect herself to Peter the Great to gain legitimacy in the eyes of the people.[2] She ordered its construction, and had it inscribed with the phrase Petro Primo Catharina Secunda MDCCLXXXII in Latin and Петру перьвому Екатерина вторая, лѣта 1782 in Russian, both meaning 'Catherine the Second to Peter the First, 1782', an expression of her admiration for her predecessor and her view of her own place in the line of great Russian rulers. Having gained her position through a palace coup, Catherine had no legal claim to the throne and wanted to represent herself as Peter's rightful heir.
In correspondence with Catherine the Great, Denis Diderot suggested French sculptor Étienne Maurice Falconet, a friend of his, for the commission. The empress followed his advice and Falconet arrived in Russia in 1766.[3]
In 1775 the casting of the statue began, supervised by caster Emelyan Khailov. At one point during the casting, the mould broke, releasing molten bronze that started several fires. All the workers ran except Khailov, who risked his life to salvage the casting.[3] After being remelted and recast, the statue was later finished. It took 12 years, from 1770 to 1782, to create the Bronze Horseman, including pedestal, horse and rider.[citation needed]
The tsar's face is the work of the young Marie-Anne Collot, then only 18 years old. She had accompanied Falconet as an apprentice on his trip to Russia in 1766. A student of Falconet and Jean-Baptiste Lemoyne, Collot was called Mademoiselle Victoire (Miss Victory) by Diderot. She modelled Peter the Great's face on his death mask and numerous portraits she found in Saint Petersburg. The right hand of the statue was modelled from a Roman bronze hand, found in 1771 in Voorburg in the Netherlands at the site of the ancient Roman town Forum Hadriani.[citation needed]
Inauguration of the Monument to Peter the Great. Engraving by A. K. Melnikov of the drawing by A. P. Davydov, 1782
On 7 August 1782, fourteen years after excavation of the pedestal began, the finished statue was unveiled in a ceremony with thousands in attendance. Conspicuously absent was Falconet, as a misunderstanding between him and the empress turned into a serious conflict. As a result, he was forced to leave Russia four years before the project was completed. Catherine largely forgot about him afterwards, and came to see the Bronze Horseman as her own oeuvre.[3]
The statue portrays Peter the Great sitting heroically on his horse, his outstretched arm pointing towards the River Neva. The sculptor wished to capture the exact moment of his horse rearing at the edge of a dramatic cliff. His horse can be seen trampling a serpent, variously interpreted to represent treachery, evil, or the enemies of Peter and his reforms.[4] The statue itself is about 6 m (20 feet) tall, while the pedestal is another 7 m (25 feet) tall, for a total of approximately 13 m (45 feet).[5]
Thunder StoneEdit
The Transportation of the Thunder-stone in the Presence of Catherine II; Engraving by I. F. Schley of the drawing by Yury Felten, 1770
For the pedestal, an enormous rapakivi granite monolith boulder known as the Thunder Stone (Russian: Гром-камень) was found at Lakhta, 6 km (3.7 mi) inland from the Gulf of Finland in 1768.[6] The Thunder Stone gained its name from a local legend that thunder split a piece off the stone. Falconet wanted to work on shaping the stone in its original location, but Catherine ordered it be moved before being cut.[7] As it was embedded to half its depth in the ground and the area was marshy terrain, the Russians had to develop new methods to dig up and transport the colossal stone. Marinos Carburis (Μαρίνος Χαρμπούρης), a Greek from the Island of Kefallonia and serving as lieutenant-colonel in the Russian Army, offered to undertake the project. Carburis had studied engineering in Vienna and is considered to be the first Greek to hold a diploma in engineering.[8]
Carburis directed workmen to wait for winter, when the ground was frozen, and then had them drag the large stone over the frozen ground to the sea for shipment and transport to the city. He developed a metallic sledge that slid over bronze spheres about 13.5 cm (6 inches) in diameter, over a track. The process worked in a way similar to the later invention of ball bearings. Making the feat even more impressive was that the labour was done entirely by humans; no animals or machines were used in bringing the stone from the original site to the Senate Square.[8] After Carburis devised the method, it took 400 men nine months to move the stone, during which time master stonecutters continuously shaped the enormous granite monolith.[3] Catherine periodically visited the effort to oversee their progress. The larger capstan was turned by 32 men, this just barely moving the rock. A further complication was the availability of only 100 m of track, which had to be constantly disassembled and relaid.[8] Nevertheless, the workers made over 150 m of progress a day while on level ground. Upon arrival at the sea an enormous barge was constructed exclusively for the Thunder Stone. The vessel had to be supported on either side by two full-size warships.[8] After a short voyage, the stone reached its destination in 1770, after nearly two years of work. A medal was issued to commemorate its arrival, with the legend "Close to Daring".[7]
Commemorative coin released in the USSR in 1988 to commemorate the monument to Peter the Great
According to the fall 1882 edition of La Nature, the stone's dimensions before being cut were 7 × 14 × 9 m. Based on the density of granite, its weight was determined to be around 1500 tonnes.[8] Falconet had some of this cut away shaping it into a base, so the finished pedestal weighs considerably less.
Siege of LeningradEdit
A 19th-century legend states that while the Bronze Horseman stands in the middle of Saint Petersburg, enemy forces will not be able to conquer the city. During the 900-day Siege of Leningrad by the invading Germans during the Second World War (Leningrad being the city's name from 1924–1991), the statue was covered with sandbags and a wooden shelter. Thus protected it survived 900 days of bombing and artillery virtually untouched.[4] True to the legend, Leningrad was never taken.
PoemEdit
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
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Alexandre Benois's illustration to the poem (1904)
Main article: The Bronze Horseman (poem)
The Bronze Horseman is the title of a poem written by Aleksandr Pushkin in 1833, widely considered to be one of the most significant works of Russian literature. Due to the popularity of his work, the statue came to be called the "Bronze Horseman". A major theme of the poem is conflict between the needs of the state and the needs of ordinary citizens.
In the poem, Pushkin describes the fates of the poor man Evgenii and his beloved Parasha during a severe flood of the Neva. Evgenii curses the statue, furious at Peter the Great for founding a city in such an unsuitable location and indirectly causing the death of his beloved. Coming to life, the horseman chases Evgenii through the city. The poem closes with the discovery of the young man's corpse in a ruined hut floating at the edge of the river.
In 1903 the artist Alexandre Benois published an edition of the poem with his illustrations, creating what was considered a masterwork of Art Nouveau.
The poem has inspired works in other genres: Reinhold Glière choreographed a ballet based on it, and Nikolai Myaskovsky's 10th Symphony (1926–7) was inspired by the poem. The statue itself has been seen as the inspiration or model for a similar statue which appears in Joseph Conrad's 1904 political novel Nostromo, thus implicitly linking the political events in Nostromo with Conrad's 1905 essay "Autocracy and War" on the subject of Russia and his eventual 1912 novel Under Western Eyes (and also with the Pushkin poem and with the political issue of Poland).[9]
GalleryEdit
Statue of Peter the Great in the Winter
Side with the Latin inscription. The other side of the pedestal carries the same inscription in Russian.
^ Adam 1977, p. 42−45
^ "St. Petersburg in Architecture: The Bronze Horseman". University of Michigan Taubman College of Architecture + Urban Planning. 2003. Archived from the original on 31 December 2006. Retrieved 22 April 2007.
^ a b c d "Bronze Horseman". Optima. 2007. Retrieved 23 April 2007.
^ a b "The Bronze Horseman". Saint-Petersburg.com. 2007. Retrieved 22 April 2007.
^ "Saint Petersburg". TourArena. 2001. Archived from the original on 27 September 2007. Retrieved 22 April 2007.
^ "Lakhta". Saint Petersburg Encyclopaedia. Retrieved 22 April 2007.
^ a b "Thunder-Stone". Saint Petersburg Encyclopaedia. Retrieved 22 April 2007.
^ a b c d e "Transport du piédestal de la statue de Pierre le Grand". La Nature magazine, second semester 1882. (in French). Retrieved 22 April 2007.
^ Cairney, Christopher (2004). "Pushkin, Mickiewicz, and 'The Horse of Stone' in Nostromo". Conradian. 29 (2): 110–115.
NotationsEdit
(in French) Histoire et statues des personnalités qui ont marqué Saint-Pétersbourg
Adam, Jean-Pierre (1977), "À propos du trilithon de Baalbek: Le transport et la mise en oeuvre des mégalithes", Syria (in French), 54 (1/2): 31–63, doi:10.3406/syria.1977.6623
(in French) Les Français à Saint-Pétersbourg, extrait du livre de N.Smirnova, ci-dessous.
(in French) Transport du piédestal de la statue de Pierre le Grand, in La Nature, 1882.
Ruprechtsberger, Erwin M. (1999), "Vom Steinbruch zum Jupitertempel von Heliopolis/Baalbek (Libanon)", Linzer Archäologische Forschungen (in German), 30: 7–56
BibliographyEdit
(in French) Natalia Smirnova, Saint-Pétersbourg ou l'enlèvement d'Europe, éd. Olizane, Genève, 1996 ISBN 2-88086-191-8
(in French) Christiane Dellac, Marie-Anne Collot : Une sculptrice française à la cour de Catherine II, 1748–1821, L'Harmattan, (2005) ISBN 2-7475-8833-5.
Wikimedia Commons has media related to The Bronze Horseman (Saint Petersburg).
Alexander M. Schenker, The Bronze Horseman: Falconet's Monument to Peter the Great, Yale University Press, New Haven CT, 2003 ISBN 0-300-09712-3.
Coordinates: 59°56′11″N 30°18′08″E / 59.9364°N 30.3022°E / 59.9364; 30.3022
Retrieved from "https://en.wikipedia.org/w/index.php?title=Bronze_Horseman&oldid=932963397"


Album was composed by C.G mix / Kazuya Takase / Maiko Iuchi / Takeshi Ozaki / Tomoyuki Nakazawa and was released on November 6, 2013. Soundtrack consists of 15 tracks tracks with duration over more than hour. Album was released by Lantis.


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The 4th Annual Lake Champlain International Film Festival takes place November 1-5 at the Strand Center Theatre in Plattsburgh.
The 2017 Film Festival celebrates its 4th year with films (click here: full program) submitted from around the world, and groundbreaking programming that shines a light on stories of journey and perseverance—from short docs made by young girls in a Syrian refugee camp (Laura Doggett's Another Kind of Girl project) to Vermont-based filmmaker Mira Niagolova's Welcome to Vermont, a close look at families (from Bosnia, Somalia, Rwanda, and Iraq) resettled in Vermont.
From Cambodia to Vietnam, the Fest looks at a world in flux, with films that tell the human stories so often missed by the media. And much more: free programming for families on Saturday @ noon, a celebration of the local filmmaking with the return of the 72 Hr Cell Phone Fest, regional classics like John O'Brien's A Man with a Plan (1996) and very special guests, including the director of Good Funk (Adam Kritzer) and the activist, humanitarian, and memoirist Le Ly Hayslip.
Wednesday opens with the journey of the Strand Theatre: travel back in time to 1924 and enjoy—accompanied by live music—Harold Lloyd's Hot Water, the first film ever shown at the Strand. Local works fill out the bill, including Jason Torrance's Melodrama.
The 72 Hour Cell Phone Film Challenge Returns on Thursday! Over twelve teams participated last year—Plattsburgh State students, community members, families, and aspiring auteurs! 3 days to make a short film on your phone. Screening on Thursday night. Who will be the winner?
Friday is our Gala Community Event! Mingle and celebrate community--everything that makes the North Country special. We're honored to present Good Funk by director and arts-educator Adam Kritzer: winner of the Harlem Spotlight Best Feature at the Harlem International Film Fest, it tells the story of 3 generations of Afro-Caribbean immigrants in the Red Hook neighborhood of Brooklyn. Kritzer will share with us the unique apprentice program he developed to shoot the film with the help of young people in Red Hook.
Saturday opens with FREE MOVIES FOR FAMILIES @ 12. We then focus on films by and about refugees, from Syria to Rwanda, with special guest Mira Niagolova. See also Laura Doggett's Another Kind of Girl project, which empowered young girls in Syria to tell their own stories. Next we present a special screening of Oliver Stone's Heaven and Earth—we're honored to be joined by Le Ly Hayslip, the activist, humanitarian, and famed memoirist. We look forward to a powerful conversation @ 6:30 before the film.
Sunday finishes strong with two docs that are not to be missed. Left on Pearl recovers the moment in 1971 when women occupied a Harvard building to fight for equal rights. This little known story is more than timely in our age of campus activism and fights for equal rights.
Angkor Awakens, by Cornell Physics prof Robert Lieberman, has been called "harrowing" by the New York Times—a look into the political unrest of Cambodia. Perhaps the perfect addition to a festival that examines the personal face of political unrest.
Sunday also includes avant-garde shorts, including one by the Atom-R collective, which includes the electronic media artist Judd Morrissey.
A Man with a Plan, the comedic political doc of a Vermont politician, ends the fest. Always a crowd pleaser. And there's so much more…. Power—a Plattsburgh State student film on poverty in the area; international shorts from around the world; a Thursday night horror block(!) with Lake Nowhere and low-fi indie heroes Mountain Carol; and much more….
SUNY Plattsburgh students and CCC students are free. $10 button gets you into all the movies.


text:
John Robert Williamson  (born 1 November 1945) is an Australian country music and folk music singer-songwriter, multi-instrumentalist, television host and conservationist. Williamson usually writes and performs songs that relate to the history and culture of Australia, particularly the outback, in a similar vein to Slim Dusty and Buddy Williams before him. Williamson has released over fifty albums, ten videos, five DVDs, and two lyric books and has sold more than 4,000,000 albums in Australia. His best known hit is "True Blue". On Australia Day (26 January) in 1992 Williamson was made a Member of the Order of Australia (AM) with the citation: "for service to Australian country music and in stimulating awareness of conservation issues". He has received twenty-six Golden Guitar trophies at the Country Music Awards of Australia, he has won three ARIA Music Awards for Best Country Album and, in 2010, was inducted into the related Hall of Fame.

Early life
John Robert Williamson was born on 1 November 1945 at Kerang Bush Nursing Hospital to Keith Williamson and Shirley Ellen (née Manuel). He grew up in Quambatook, in the Mallee district of north-western Victoria. His parents farmed wheat crops on various small land lots in the region and both were amateur performing artists singing in local Gilbert and Sullivan productions. Williamson is the oldest of five sons  Whose names in  order are William, Robin, Peter and Jeff.

Origins and beginnings
Williamson's performance style originates from his 'farmland, not city bitumen' lifestyle, and his upbringing is referred to by the nickname, 'The Mallee Boy'. His early musical influences were Roger Miller and Rolf Harris, both of whom provided inspirational elements for his first hit, namely using a vocal imitation from Miller's "Dang Me" and replacing Rolf's wobble board with a Jaw's Harp. From the age of seven he learned to play the ukulele from his father, before proceeding when he was twelve to guitar and taught himself to play harmonica. For the last four years of secondary schooling Williamson attended Scotch College in Melbourne. In the early 1960s, while still at college, he formed a folk music group. After schooling Williamson returned home to become a farmer and, in 1965, the family moved to Croppa Creek, near Moree, where Williamson began performing at a local restaurant.

Career

1970s
In 1969 John Williamson wrote a novelty song, "Old Man Emu", and early the following year he performed the track on TV talent quest, New Faces, winning first place. He later reflected on his songwriting process, and the importance of his guitar, "no matter where I go I'll have one with me, in case I come up with a song, I've got to have the guitar straight away. I always write the words and the music together". In early 1970 he signed a recording contract with Fable Records owner and New Facess judge, Ron Tudor. In May "Old Man Emu" was released as a single on Tudor's label, which peaked at No. 3 on the Go-Set National Top 60. It was awarded a gold certification and was listed at No. 14 on Go-Sets Top Records for the Year of 1970. His self-titled debut album followed in mid-year and, although it featured "Old Man Emu", it had little commercial success: only selling two-thousand copies. Since "Old Man Emu" was his only hit he had to perform it two or three times per gig. Williamson's follow-up single, "Under the Bridge" backed with "The Unexplored Shadows of Mine" was issued in November with certain pressings having its A and B-sides swapped around. By February 1971 the album's third single, "Beautiful Sydney", appeared. A string of non-album singles followed including, in March 1972, "Misery Farm" with Lumpy Pumpkin.

In 1973 Williamson hosted a country music TV series, Travlin' Out West, which ran for two years, broadcast by NBN-3, Newcastle. He performed with two regular acts, Ricky & Tammy, and Emma Hannah. The program provided two albums for the regulars, Travlin' Out West in Concert (1973) and From Travlin' Out West (1974) issued by Reg Grundy Productions. In 1976 he issued his second album, The Comic Strip Cowboy, but it failed to chart. In early 1978, Williamson released his first compilation album under the Country Greats series. This was followed later in the year by his third album, Road to Town, with contributions by other musicians including Tommy Emmanuel on guitar. Also that year Williamson formed a country music band, Crow, which performed on the pub and club circuit across Australia. In 1980 Crow were renamed as Sydney Radio, to play rock music with a reggae influence. The members used face paint, with Williamson disguised as the clown, Ludwig Leichhardt. Williamson penned rock and reggae numbers for the band some of which were recorded but never released. Since 1970 Williamson has had a friendship with radio presenter, John Laws, who calls Williamson his 'little brother'. In 1977, Williamson recorded and released a single, "It's a Grab It While It's Goin' Kind of Life", which is a musical tribute to Laws. Up until Laws' first retirement on 25 June 2007, Williamson wrote and performed a series of jingles for Laws' morning show on 2UE, and his final jingle was "Hey good on ya Lawsie, you pulled the plug at last". Laws made a successful comeback to radio broadcasting in February 2011, this time at 2SM, part of the Super Radio Network, and Williamson's jingles for his programme resumed.

1980s
In early 1981 John Williamson's rock group, Sydney Radio, disbanded and he began playing solo in pubs, which attracted more new fans. He recorded a tribute song for ANZACs, "Diggers of the ANZAC (This Is Gallipoli)", which was well received and issued as a single. Williamson met Pixie Jenkins, a fiddle player, and the two toured together for several years. In April 1981 Williamson issued a single, "The Breaker", featuring narrated vocals by Charles 'Bud' Tingwell, which was inspired by the movie, Breaker Morant (1980) (which had Tingwell as a supporting actor). "The Breaker" enabled Williamson to cast off the "Old Man Emu" novelty tag and "[h]is long apprenticeship flowed into an apparently endless set of songs charming Australians with stories and images about themselves and their country". In 1982, he recorded a new track, "True Blue", which was included on a compilation album, True Blue: The Best of John Williamson. Later that year, he issued Fair Dinkum J.W., featuring traditional Australian ballads, "With My Swag upon My Shoulder", "Botany Bay" and "Brisbane Ladies"; as well as originals, "Country Football", "Kill the Night", "Wrinkles" and "(You've Gotta Be) Fair Dinkum", a duet with Karen Johns.

In 1983 Williamson released his first solo live album, Singing in the Suburbs and another live album, The Smell of Gum Leaves, in September 1984. It featured another comic track, "I'm Fair Dinkum". Williamson then launched his merchandise business, The Fair Dinkum Road Company, in Sydney. The album included his cover version of Spectrum's 1971 single, "I'll Be Gone", which he played using only guitar and harmonica. At the start of 1985 he founded an independent record label, Gumleaf Recordings. At the Country Music Awards of Australia in January that year, he won 'Song of the Year' for "Queen in the Sport of Kings". He then issued a new compilation, Humble Beginnings, featuring tracks from his first three studio albums. He released another studio album that year, Road Thru the Heart. At the Country Music Awards of Australia in January 1986, he won 'Album of the Year' for Road Thru the Heart and 'Male Vocalist of the Year' for "You and My Guitar". In July 1986, Williamson released another compilation, All the Best! which contained eighteen of his most-requested tracks both from studio and live works. As a bonus, Williamson collaborated with both of his daughters, Ami and Georgie, and with Australian folk group Bullamakanka on "Goodbye Blinky Bill" – highlighting the comic koala character of the same name. When issued as a single, the purchase price included an A$1.00 donation to the Koala Preservation Society in Port Macquarie. At the Country Music Awards of Australia in January 1986, he won 'Album of the Year' for Road Thru the Heart and 'Male Vocalist of the Year' for "You and My Guitar".

In November 1986 Williamson's Gumleaf Recordings distributed his breakthrough album, Mallee Boy, which peaked in the Top 10 on the Kent Music Report Albums Chart. It remained in the top 50 for a year-and-a-half, and was awarded a triple platinum certificate. It was "filled with storytelling that spanned from his own beginnings on that farm in the Victorian Mallee to every corner of the nation". At the ARIA Music Awards of 1987, Mallee Boy was named the inaugural winner of Best Country Album. At the Country Music Awards of Australia in January 1987, he won 'Album of the Year' for Mallee Boy and 'Male Vocalist of the Year' for "True Blue". Popular tracks include the title song, "Galleries of Pink Galahs" (see Galah), "Raining on the Rock" (see Uluru) and "Cootamundra Wattle" (see Acacia baileyana). The album had a re-recorded version of "True Blue" which was released as a single in September. Williamson was asked by the Australian Made Campaign whether they could use "True Blue" for their TV and radio ads. It became a career highlight and was adopted as a theme by the Australia national cricket team. To support Mallee Boy Williamson performed his concerts in a campfire setting and since that time he commences many of his shows with its title track. At the Country Music Awards of Australia in January 1988, he won 'Top Selling Album' for Mallee Boy.

In April 1988 Williamson issued his seventh studio album, Boomerang Café, which peaked at No. 10 on the Kent Music Report. At the ARIA Music Awards of 1989, Boomerang Café won his second award for Best Country Album. At the Country Music Awards of Australia in January 1989, he won 'Top Selling Album' and 'Album of the Year' for Boomerang Café. Despite the title song's lyrics, Williamson has told concert audiences that he did not actually meet his future wife, Mary-Kay, in The Boomerang Cafe but actually by a water tank. Williamson performed at the opening of the New Parliament House. In September 1989, he issued Warragul (meaning dingo in the Wiradjuri language), which became his first number-one album the following month. That same year Variety Club named him 'Entertainer of the Year'.

1990s
At the Country Music Awards of Australia for 1990, John Williamson won 'Top Selling Album' and 'Album of the Year' for Warragul, and 'Heritage Award' for "Drover's Boy". At the ARIA Music Awards of 1990, Warragul earned his third Best Country Album award. In October 1990 Williamson released JW's Family Album which reached No. 21. In 1990 a new version of "Old Man Emu" appeared as a single, with a new lyric added: "He can run the pants off a dingo too". In September 1992 his next album, Waratah St, was released it reached No. 14 on the ARIA Albums Chart, and had received a gold certificate on pre-sale orders. At the Country Music Awards of Australia in January 1992, he won 'Top Selling Album' for JW's Family Album.

Late in 1991 he combined with other country musicians, Slim Dusty, Joy McKean, Phil Matthews and Max Ellis to organise the founding of the Country Music Association of Australia (CMAA), which "would fight for the interests of the Australian country music industry particularly in regard to the Awards". It was launched in January 1992 with Dusty as inaugural chairman and Williamson as vice-chairman and later that year CMAA took over the organisation of the Country Music Awards of Australia – established in 1973 – from radio station, 2TM based in Tamworth. Williamson's compilation, Australia Calling – All the Best Vol 2, was released in October, which peaked at number 32 and was certified platinum. Its lead single, "Australia Calling", was also released while another new track was the studio recording of "I'll Be Gone", and was used to raise awareness for homeless youth. At the beginning of 1993, Williamson issued Love is a Good Woman, a compilation of his love songs, with new tracks "Good Woman" and "Misty Blue". In September that year, after watching the TV announcement that Sydney had won the bid to host the 2000 Summer Olympics, Williamson wrote "Sydney 2000" and was invited to perform it on the steps of the Sydney Opera House. A year later, it was recorded for his next album, Mulga to Mangoes, which peaked at No. 14. Associated singles were "Seven Year Itch", "River Crying Out" and "Tropical Fever".

At the Country Music Awards of Australia in January 1995, he won 'Video Track of the Year' for "Tropical Fever" – directed by Mark Jago. During the year he celebrated twenty-five years in the Australian music industry with a new compilation, True Blue – The Very Best of John Williamson, which reached the top 30. It included two new tracks, "Bush Town (The Lawnmower Song)" and "No-one Loves Brisbane Like Jesus". At that time, he published his book, True Blue: Stories and Songs of Australia, which contains the lyrics of his songs and explanations of their composition. Williamson was surprised at the book's launch by Mike Munro as part of the TV documentary series, This is Your Life. He appeared on the series again in 2000 when Slim Dusty was the subject of an episode. At the Country Music Awards of Australia in January 1996, Williamson won 'Top Selling Album' for Mulga to Mangoes. He released Family Album No.2 in September 1996.

In January the following year he was inducted to the Country Music Association of Australia's Roll of Renown. Williamson's thirteenth studio album Pipe Dream was released in August 1997 and peaked at No. 6. At the Country Music Awards of Australia for 1998 he won 'Top Selling Album' for Pipe Dream. "Sir Don", his tribute to cricketer Donald Bradman, is on the album. Williamson performed "Raining on the Rock" as a duet with Warren H Williams. The following year, at the Australian Country Music Awards, the pair won 'Collaboration of the Year'. Williamson soon took part in his short-lived television series on the Seven Network called The Bush Telegraph. Following this for a moderate period, Williamson continued touring Australia and was also releasing a series of compilations. In July 1999 his fourteenth studio album, The Way It Is was released and peaked at No. 10, it went gold after eight weeks. At the end of 1999, he published his first calendar, by using photography from Steve Parish.

2000s
At the Country Music Awards of Australia for 2000 John Williamson won 'Top Selling Album' for The Way It Is, 'Heritage Song of the Year' for "Campfire on the Road" and 'Bush Ballad of the Year' for "Three Sons". He released his next compilation album, Anthems – A Celebration of Australia in August 2000, which peaked at No. 16. A new single, "This Ancient Land", was recorded with country music veteran, Jimmy Little, for Corroboree that year. Other anthem tracks include "A Number on My Back" for the national rugby union team, Wallabies, and "The Baggy Green" with vocals by national cricket captain Steve Waugh. Also on the album are "Waltzing Matilda 2000" and a studio recording of "Advance Australia Fair" for the first time. He was invited to perform at the opening ceremony of the Sydney 2000 Summer Olympics.

Williamson performed "Sir Don" at Bradman's Memorial Service in Adelaide in 2001. The original scraps of paper he used to compose the track are displayed in the Bradman Museum, Bowral. He also represented Australia when performing at the Opening Ceremony of Winterlude in Ottawa, Ontario, Canada. In April 2002, Williamson released his fifteenth studio album, Gunyah, which in the traditional Aboriginal language means 'home'. The opening track "Sing You the Outback" revealed how important the Australian outback has been in the past and how invaluable it will be into the future. The next two tracks, "Frangipani Bay" and "Cape York Peninsula", were written during a road trip to Australia's most northern point. The lyrics in "The Devil's Boots" relate to the bushranger, Ned Kelly. "Buried in Her Bedclothes" was written after Williamson and Mary-Kay, his spouse of the time, met an elderly woman on an Indian Pacific rail trip. Her husband had died six months earlier and she had refused to get out of bed for three months. Her family suggested the train trip as a remedy – she shared her memories with the Williamsons and said that the train 'had done the job'.

Williamson referred to 2003 as his 'most True Blue year ever'. He was elected President of the CMAA after Dusty retired. He then released the sequel to the 1995 compilation True Blue Two, which reached No. 8. It featured his hit songs up to the Gunyah album and exclusively including five new tracks. On 12 October, Williamson was asked by the Prime Minister, John Howard, to perform "Waltzing Matilda" at the Memorial Service for the first Anniversary of the 2002 Bali bombings.

At the Country Music Awards of Australia for 2004 Williamson and Sara Storer won 'Vocal Collaboration of the Year' and 'Single of the Year' for "Raining on the Plains", and the track won 'Song of the Year' which was shared with Storer and her co-writers, Garth Porter and Doug Storer. The track is on Storer's 2002 album, Beautiful Circle. With regard to new arrangements of John's songs, having recorded a cover version of Stan Coster's "Wobbly Boot Hotel" on Waratah St in 1991, he re-recorded it in 2004 as a duet with Coster's daughter Tracy on "Coster Country", her tribute album to him. 2005 was a productive year for John in terms of recording and touring; he re-recorded "Wrinkles" as a duet with John Stephan, issued a twenty-track compilation of Queensland-themed songs, called "From Bulldust to Bitumen", available only to RACQ members, and in August, Chandelier of Stars was released, which reached No. 11 on the ARIA Albums Chart. At the Country Music Awards of Australia for 2006 he won 'Album of the Year' and 'Top Selling Album' for Chandelier of Stars, and the track "Bells in a Bushman's Ear" won 'Bush Ballad of the Year'.

In discussing John's wife of the time, the opening track, "Little Girl from the Dryland", describes Mary-Kay and her childhood in Tulloona Bore, south of Boggabilla, from her point of view. "Chandelier of Stars" is a description of the night sky before sunrise. "Bells in a Bushman's Ear" is a tribute to Australia's country music forefathers, and "The Camel Boy" is about the life of indigenous artist, Albert Namatjira, who is Warren H Williams' great uncle. "Keeper of the Stones", which first appeared on Williamson's live album and DVD of 2004, Mates on the Road, was dedicated to indigenous Australians of The Stolen Generation. "Desert Child", another duet with Williams is a bush lullaby for Aboriginal children. Also on Chandelier of Stars is "A Country Balladeer" which is a duet with Chad Morgan, and "Flower on the Water" is a tribute to the victims of the Bali bombings. The first four lines are inspired by words on a photo of a deceased victim: "To hear your voice, to see you smile / To sit and talk to you awhile / To be together the same old way / That would be our greatest wish today". Williamson found the author and started a friendship.

The following November, Williamson released the new song "We Love This Country" on a compilation of the same name with his favourite holiday songs to promote Australian tourism with caravans – it became a jingle for Jayco commercials. He promoted the aforementioned projects of 2005 together with Pixie Jenkins and Warren H. Williams as part of their True Blue Reunion Tour. In August 2006, The Platinum Collection, a three-disc set of Williamson's hits from 1970 - 2005 was released. In September, Williamson was devastated after hearing of the death of fellow wildlife conservationist and friend, Steve Irwin. In reaction to the news, he wrote a tribute tune, "Wildlife Warriors: It's Time". He was evidently emotional while performing both "Home Among the Gum Trees" and "True Blue" at Irwin's memorial service inside the arena of his Australia Zoo Crocoseum. The service was filmed live-to-air and later released on DVD. Wildlife Warriors was additionally released in November 2006 on a compilation album of the same name, along with twelve of Williamson's favourite conservation awareness tracks and his two live performances from Irwin's memorial.

At the beginning of 2008 Williamson decided to put together a musical. Based on his music and lyrics, the book by Simon Heath and directed by Bernie Zelvis, Williamson named it Quambatook – The Musical. On 7 February 2008, the musical was premiered at the EVAN Theater in Penrith to positive reviews, making it a major highlight in the history of Australian musical theatre.

The album Hillbilly Road was released in August 2008. The lyrics for the album were inspired by his home in Springbrook. Subsequent singles that followed were "Cydi", "Drink a Little Love", "Australia Is Another Word for Free" as a trio with Williams and Amos Morris, and "Better Than a Picture". "The Joy Is in the Journey" was a special bonus addition to finish the album, previously appearing on the Quambatook Musical soundtrack. The Hillbilly Road album was promoted everywhere around Australia until early the next year when Williams decided to move on and pursue other musical projects, leaving Williamson to perform the rest of the tour solo. At the Country Music Awards of Australia for 2009 he won 'Bush Ballad of the Year' for "Australia Is Another Word for Free", performed by Williamson, Williams and Morris.

By late 2009 Williamson got together with fellow country star Adam Harvey and recorded their cover to Roger Miller's "King of the Road", issued both as a single and on Harvey's duets album Both Sides Now. Williamson then made his Carols By Candlelight debut at the Sidney Myer Music Bowl.

2010s
On 26 January (Australia Day) 2010 Williamson released a new Australian anthem called "Island of Oceans" as a duet with Shannon Noll. Williamson released a new double-CD compilation album Absolute Greatest: 40 Years True Blue commemorating this milestone. At a press conference for the album in Tamworth on 21 January hosted by the then Governor-General Quentin Bryce, in his acceptance speech, John expressed his gratitude for the longevity of his career up to that point, in the process thanking his fans, friends and family, including his first wife, Mary-Kay.

On 28 January 2011 Williamson released a recording of a concert with the Sydney Symphony Orchestra at the Sydney Opera House. At the Australian Country Music Awards in Tamworth that same month John presented Jimmy Little with the Lifetime Achievement
Award.

In January 2012, Williamson released The Big Red. The first two singles lifted from the work are "Hang My Hat in Queensland" and the title track. Early in 2013 "Prairie Hotel Parachilna" was released. In 2013, a new two-disc set of John's hits, Hell of a Career was released. In 2014, Williamson released his fiftieth album (including compilations) called Honest People, as well as writing his autobiography, issued by Penguin. Both were released on 25 July 2014. As well as this, he made his debut as an exhibitionist painter. In 2014, it was announced by John via A Current Affair that he has been diagnosed with prostate cancer.

In April 2016, he released an EP called Looking for a Story, a new ANZAC tribute and six other sets of previously issued lyrics. John released his twentieth studio album Butcherbird in August 2018.

2020s
In 2020, Williamson celebrated 50 years since the release of "Old Man Emu", by releasing a 25xCD single box set, featuring 50 tracks spanning his career. Williamson said "Putting together this collection gave me a chance to take stock of what I've achieved during my career... While I'm not looking to retire just yet, once I've completed my 2020 Winding Back Tour I'll be scaling down my live appearances. I've always loved the connection I receive when performing, so you'll still see me popping up at festivals and special events. Winding Back mainly means I'm looking forward to spending more time in the garden and less time away from home fiddling about with those hard to open motel soaps." JW 50 - Winding Back 1970-2020 was released on 19 June 2020 and peaked at number 50 on the ARIA Charts.

Personal life
In the early 1970s John was living in Leichhardt and met Mary-Kay Price. Her parents had farmed on Tulloona Plain between Moree and Goondiwindi, and her father was a World War II soldier-settler. In 1973, Williamson married Mary-Kay on her parents' farm. The couple have two daughters, Ami and Georgie. Ami recalled "[w]hen Dad was away, he was really away". Over his career Williamson has written some love songs for Mary-Kay including "Little Girl from the Dryland". On 23 April 2007, after more than 30 years of marriage, Williamson and Mary-Kay divorced. Williamson admitted that he preferred Springbrook in south-east Queensland to unwind and get inspiration for new material.

Following his marriage break-up, Williamson formed a relationship with a new partner, Meg Doyle, who organises some of his activities. The couple divide their time living together between Springbrook and their Sydney apartment and were married in March 2013. His daughter, Ami, is also a musician, who has toured with Williamson. In early 2008, she toured Australian Defence Force bases in Iraq and Afghanistan to play to troops: she appeared on two episodes, "Show of Force", on Australian Story (May 2008) describing the tour. Williamson also appeared on the same episodes he had advised his daughter "to sing stuff that's going to be good for the boys". Ami explained her motivation for going "I've got, you know, a history of entertainers in my family ... [who] have performed for the military, my dad has, so I feel like I've taken the baton, which is cool".

Williamson is a supporter and activist for Australia becoming a Republic, stating "I believe that those who cling to the Monarchy [...] are no different [...] from those who objected to the then proposed Federation [...]. In other words, there is no doubt in my mind that a Republic is inevitable [...]."

His middle brother Robin died of cancer in 1999. The song "Salisbury Street" on Williamson's 2002 album "Gunyah" was dedicated to Robin. Salisbury Street was the location of their second home in Quambatook.

Criticism and controversy
"Call Me Blue" from the nineteenth album, Honest People, was written in reaction to the verbal abuse that Williamson received after resigning as president of the CMAA. He gave up the position of his own volition, unhappy with the "growing influence of American music".

Discography

Studio albums
 John Williamson (1970)
 Comic Strip Cowboy (1976)
 Road to Town (1978)
 Fair Dinkum J.W. (1982)
 Road Thru the Heart (1985)
 Mallee Boy (1986)
 Boomerang Café (1988)
 Warragul (1989)
 JW's Family Album (1990)
 Waratah St (1991)
 Mulga to Mangoes (1994)
 Family Album No.2 (1996)
 Pipe Dream (1997)
 The Way It Is (1999)
 Gunyah (2002)
 Chandelier of Stars (2005)
 Hillbilly Road (2008)
 The Big Red (2012)
 Honest People (2014)
 Butcherbird (2018)

Honours, awards and nominations
On Australia Day 1992 John Williamson was made a Member of the Order of Australia (AM) with the citation: "for service to Australian country music and in stimulating awareness of conservation issues". In the 2006 book, 1001 Australians You Should Know, music journalists, Toby Creswell and Samantha Chenoweth describe him as "[o]ne of the most popular songwriters in Australia ... [h]e has been a voice for the people of the bush and he has been a voice of dissent, openly criticising the woodchip industry". He is also a Protect Our Coral Sea Ambassador.

In mid-2015, Williamson was nominated for the 2015 Sounds of Australia competition by veteran Australian TV presenter and journalist Steve Liebmann.

APRA Awards
These annual awards were established by Australasian Performing Right Association (APRA) in 1982 to honour the achievements of songwriters and music composers, and to recognise their songwriting skills, sales and airplay performance, by its members annually. John Williamson has won three APRA Music Awards, in the allied categories 'Most Performed Australasian Country Work' and 'Most Performed Country Work'.

|-
| 1988 || "True Blue" || Most Performed Australasian Country Work ||
|-
| 1990 || "Rip Rip Woodchip" || Most Performed Australasian Country Work ||
|-
|| 1995 || "Tropical Fever" (John Williamson) || Most Performed Country Work ||

ARIA Awards
The ARIA Music Awards are presented annually from 1987 by the Australian Recording Industry Association (ARIA). John Williamson has won four awards from twelve nominations, including his induction into the ARIA Hall of Fame on 27 October 2010. He has won the 'Best Country Album' category three times, including the inaugural award in 1987, from six nominations.

|-
| rowspan="2"| 1987 || rowspan="2"| Mallee Boy || Best Country Album ||
|-
|| Best Indigenous Release ||
|-
|| 1989 || Boomerang Cafe || Best Country Album ||
|-
| rowspan="2"| 1990 || rowspan="2"| Warragul || Best Country Album ||
|-
|| Best Adult Contemporary Album ||
|-
|| 1991 || JW's Family Album || Best Children's Album ||
|-
| rowspan="2"|1992 || rowspan="2"| Waratah St || Best Country Album ||
|-
|| Best Adult Contemporary Album ||
|-
|| 1994 || Love Is a Good Woman || Best Country Album ||
|-
|| 1996 || True Blue – The Very Best of John Williamson || Highest Selling Album ||
|-
|| 1998 || "Raining on the Rock" (duet with Warren H Williams) || Best Indigenous Release ||
|-
|| 2000 || The Way It Is || Best Country Album ||
|-
|| 2010 || John Williamson || ARIA Hall of Fame ||

CMAA Awards
These annual awards have been presented since 1973 and have been organised by Country Music Association of Australia (CMAA) from 1993, to "encourage, promote and recognise excellence in Australian country music recording". From that time the recipient's trophy has been a Golden Guitar. John Williamson has won twenty-seven Country Music Awards of Australia, including induction into their Roll of Renown in 1997.

|-
| 1985 || "Queen in the Sport of Kings" || Song of the Year ||
|-
| rowspan="2"| 1986 || Road thru the Heart || Album of the Year ||
|-
| "You and My Guitar" || Male Vocalist of the Year ||
|-
| rowspan="2"| 1987 || Mallee Boy || Album of the Year ||
|-
| "True Blue" || Male Vocalist of the Year ||
|-
| 1988 || Mallee Boy || Top Selling Album ||
|-
| rowspan="2"| 1989 || rowspan="2" | Boomerang Cafe || Album of the Year ||
|-
| Top Selling Album ||
|-
| rowspan="3"| 1990 || rowspan="2" | Warragul || Album of the Year ||
|-
| Top Selling Album ||
|-
| "Drover's Boy" || Heritage Award ||
|-
| 1992 || JW's Family Album || Top Selling Album ||
|-
| 1995 || "Tropical Fever" – directed by Mark Jago || Video Track of the Year ||
|-
| 1996 || Mulga to Mangoes || Top Selling Album ||
|-
| 1997 || John Williamson || Roll of Renown ||
|-
| 1998 || Pipe Dream || Top Selling Album ||
|-
| rowspan="3"| 2000 || The Way It Is || Top Selling Album of the Year ||
|-
| "Campfire on the Road" || Heritage Song of the Year ||
|-
| "Three Sons" || Bush Ballad of the Year ||
|-
| rowspan="3"| 2004 || rowspan="3"| "Raining on the Plains" (duet with Sara Storer) || Vocal Collaboration of the Year ||
|-
| Single of the Year ||
|-
| APRA Song of the Year ||
|-
|rowspan="3"| 2006 || rowspan="2"| Chandelier of Stars || Album of the Year ||
|-
| Top Selling Album of the Year ||
|-
| "Bells in a Bushman's Ear" || Bush Ballad of the Year ||
|-
| 2009 || "Australia Is Another Word for Free" (with Warren H Williams and Amos Morris) || Bush Ballad of the Year ||
|-
| 2014 || "Pozie" (with Sara Storer) || Vocal Collaboration of the Year ||
|-
| 2019 || "Please Don't Forget Me" || Bush Ballad of the Year ||

Mo Awards
The Australian Entertainment Mo Awards (commonly known informally as the Mo Awards), were annual Australian entertainment industry awards. They recognise achievements in live entertainment in Australia from 1975 to 2016. Williamson won eight awards in that time.
 (wins only)
|-
| 1986
| John Williamson
| Male Country Entertainer of the Year
|
|-
| 1987
| John Williamson
| Male Country Entertainer of the Year
|
|-
| 1988
| John Williamson
| Male Country Entertainer of the Year
|
|-
| 1990
| John Williamson
| Country Performer of the Year
|
|-
|rowspan="3"|  1991
| John Williamson
| Country Performer of the Year
|
|-
| John Williamson
| Male Country Entertainer of the Year
|
|-
| John Williamson
| Most Success Attraction of the Year
|
|-
| 1992
| John Williamson
| Most Success Attraction of the Year
|
|-

Tamworth Songwriters Awards
The Tamworth Songwriters Association (TSA) is an annual songwriting contest for original country songs, awarded in January at the Tamworth Country Music Festival. They commenced in 1986. John Williamson has won eight awards.
 (wins only)
|-
| 1988
| "When We Were Kids" by John Williamson and Allan Caswell
| Country Song of the Year
|
|-
| 1992
| "Papa Whiskey November" by John Williamson
| Country Song of the Year
|
|-
| 1996
| "Bush Town (The Lawn Mower Song)" by John Williamson
| Children's Song of the Year
|
|-
| 1997
| "Kitchy Kitch Koo" by John Williamson
| Children's Song of the Year
|
|-
| 1998
| "Old Farts in a Caravan Park" by John Williamson
| Comedy / Novelty Song of the Year
|
|-
|rowspan="2"| 2000
|rowspan="2"| "Purple Roses" by John Williamson
| Contemporary Song of the Year
|
|-
| Country Song of the Year
|
|-
| 2004
| John Williamson
| Tex Morton Award
|
|-

Bibliography
John Williamson has written or co-written the following:

See also
 :Category:John Williamson (singer) albums
 :Category:John Williamson (singer) songs
 John Farnham

Notes

References

External links

 John Williamson music video sample
 Picture (716 x 757 pixels) of John Williamson
 Audio interview with Williamson on Australian rugby

1945 births
Living people
20th-century guitarists
21st-century guitarists
ARIA Award winners
ARIA Hall of Fame inductees
Australian country singer-songwriters
Australian autobiographers
Australian country singers
Australian multi-instrumentalists
Members of the Order of Australia
Musicians from Victoria (Australia)
People educated at Scotch College, Melbourne
People from Kerang
20th-century Australian male singers
21st-century Australian male singers
Australian male singer-songwriters


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Book Review: "churchill & the Jews"
Martin Gilbert is a historical writing phenomenon; a historian without peer in many areas; and an intellectual giant in Churchilliana. Again he has produced another valuable niche product in the vast compendium of Churchill related works, this one centred on Churchill's 70-year relationship with Jews, Zionism and post 1947 Israel. Even if you are not found of Churchill, the book should be read by those who desire to know more about the Middle East, the current Israeli-Arab struggle, and why in modern times, Israel was created as a backdrop to current events; Gilbert has produced a valuable canvass.
I have read all of Gilbert's works, and pretty much everything there is on Churchill, and this book served up two pleasant surprises. The first, is the not inconsiderable politically incorrect pro-Zionist narrative found in Gilbert's prose acted out by Churchill's 70-year affinity for the cause of 'Jewishness' and Zionism. When world 'opinion' and outrage is so consumed by sympathetic revisionism seen in pro-Arab, pro-Palestinian and extreme tolerance towards all things Muslim, it is heartening to read intelligent reality based commentary which disavows genuflection to the Arab-Islmaic-Mulit-Cult, anti-modern program. The second surprise was to read of Churchill's constancy in his support of Jews, in spite of political opprobrium over so many decades. He even once described Judaic ethics as, "incomparable the most precious possession of mankind, worth in fact the fruits of all other wisdom and learning put together." The gutless political wonders of today wouldn't have the courage or intellectual understanding to utter such a thing. Besides the Arab feminist gay vote would cry and be pouty. It takes a rare man to stand so long on principle even as political and public 'opinion' support erodes.
But neither Churchill nor Gilbert are ordinary men. Churchill's career, as Gilbert highlights, is one intertwined with, and supportive of, 'Jews' and Zionism, especially the idea of a Jewish home, where the long persecuted race could find security and safety. Churchill always rejected, 'the anti-semitic lines of prejudice' both in and outside Britain, feeling that with applied intelligence and patience, Jews and Arabs could peaceably prosper in a flourishing and modern Palestine. Unfortunately the Arabs then as now, show little inclination to live in the modern world.
From 1904 to 1908 Churchill, the 30 to 34 year old politician represented a minority Jewish constituency in Manchester. Jewish concerns were thus imprinted upon Churchill's world view early in his career. As Gilbert elaborates, Churchill during his lifetime had many Jewish friends, publishers, researchers, political allies, and even financiers. (Churchill almost went bankrupt in the 1930's, saved by the intervention of some notable Jewish families). As a Cabinet Minister in 1921 and 1922, charged with determining the future status of a Jewish home in Palestine; through World War Two and the holocaust, as Prime Minister from 1951-1956; and as a historian puzzling over the relationship between Jews and Arabs; Churchill was profoundly associated with Jewish concerns and the complexity of Arab Jew interaction in Palestine.
Though fond of Jews (and too fond according to one critic), Churchill was at times evisceratingly critical of Jewish extremism or inflexibility. Not surprisingly Churchill knew of the depth of Jewish leadership in the Russian bolshevist movement (all top Bolsheviks, including Lenin were indeed at least partially Jewish), calling upon Jewish leaders to denounce bolshevism and instead elevate true Jewish ethics instead. Likewise during the 1930s and 1940s, when fringe Jewish terrorist groups were attacking and murdering British Subjects and innocents in the Palestine mandate, Churchill adjured Jewish leaders to strike down such evil elements lest a Jewish home became a political and social impossibility.
In short, if you analyze his career and statements, Churchill was not Hitler's caricature of a drunken, Jewish knave, promoting capitalism as the smiling, materialistic face of neo-imperialist slavery. He was instead a politician who believed in the Judeo-Christian tradition and who had the power to help realize Britain's 1917 Balfour Declaration guaranteeing Jews a Palestinian home (done to gain support of Jews in Russia and America to prosecute the war against Wilhelmina Germany). If you look at the historical record, the Jews owe Israel's very existence, at least in part, to Churchill's exertions.
In 1922 Churchill as a Cabinet Minister responsible for Palestine, produced the Churchill White paper; which laid the foundation of an Israeli State. Churchill's White Paper, which addressed the partition of Britain's mandate between Arabs and Jews (Palestinians were a separate 'people' created by the U.N. and Arabs circa 1967), was decidedly pro-Zionist, allocating perhaps 12% of the mandate to the Jews and 88%, including present day Jordan, some of Syria, and current 'Palestinian' holdings to the Arabs. In terms of geographical coverage the Arabs won in terms of legitimacy, the Jews had their necessary and powerful, political support. Churchill's plan was to increase civilizational development for 1000 years. As Churchill commented, the Arabs had done nothing with the land. As Jews increased from 80,000 people in 1922, economic development would dictate the levels of Jewish emigration. It was Churchill's hope that the 500,000 Arab residents in 1922 would not feel overwhelmed by a rising Jewish population.
As it turned out he need not have worried. By 1948 the Arab population in the British Mandate had tripled from 1922 levels to 1.5 million. The Jewish population had surged to about 800,000. Upon declaring statehood in 1948, post-British withdrawal, the tiny Jewish State was attacked by 5 Arab States with 50 times the population. Israel survived of course, humiliating the Arab armies. (It is a cautionary tale. However, for those who chatter about precipitate withdrawal from Iraq or Afghanistan, those Western allied governments will simply collapse if the West exits).
Gilbert's book is in many ways required reading for our days and times. There is nothing wrong as Churchill's example attests to, of having constancy and moral purpose in politics. Defending the Jews- a vital part of Western civilization- is noble and just. Affirming blame to Arab-Islamic intolerance when analyzing Middle-Eastern affairs is necessary and justified. Learning from Churchill, from history, and from cultural precedents is also to be embraced.